COURSE: THE ARTIST’S VOICE 01 MODULE Written by Laura Ratcliffe © Laura Ratcliffe-Thrift The Singers Club Ltd 2024 No unauthorised replication, modification or use permitted CPD provider no. 018542 Copyright reference: 10044260520s024 THE VOICE AS AN INSTRUMENT [Toolkit] FVTPT1 Student Coursebook
THE VOICE AS AN INSTRUMENT MODULE Example Vocal Ranges Bruno Mars Elvis Whitney Houston Beyonce Michael Buble Celine Dion C1 C2 C3 C4 C5 C6 C7 Leonard Cohen Gregory Porter The Wkend Billie Eilish Ariana Grande Mariah Carey All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. 5
MODULE THE VOICE AS AN INSTRUMENT BREATHING Normally, as humans, we simply breathe in - and then out. However, when we sing, we actively slow down the exhalation part of the process, which is governed by the movement of the diaphragm. The vocal folds vibrate on the outward airflow, resulting in sound. We cannot direct our diaphragm independently. Instead, we control the muscles that connect to and influence its movement. This is what most of our breathing exercises are centred around in one way or another. Breathing exercises include those focussed on the muscles connected to the diaphragm as well as the alignment of our entire body, torso, and head. All this is towards the goal of optimum vocal production and based on the stylistic choices we are aiming for. The more nuanced we become with our breath control, the more options we have open to us as a singer! The diaphragm is a sheet of muscle separating our abdominal and respiratory organs. It depresses and flattens on inspiration and moves back up/ ascends to a neutral position lining underneath the lungs when we exhale (see diagram to left). All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. 10
MODULE THE VOICE AS AN INSTRUMENT Vocal Folds Vibrate to make sound Open to breathe Vocal folds, also known as cords, form a valve that is a crucial point at which airflow leaves our body. They vibrate on airflow to make sound! Although we have labels for the sensations and resonances felt around different parts of our body, i.e chest voice and head voice, the source sound is always made at the point of our vocal folds. Our vocal folds (typically) close when we hold our breath, open when we breathe, vibrate on airflow to make sound, and can stretch, thin out, and lengthen to make a whole lot of different sounds! Adducted vocal folds = closed Abducted vocal folds = open Epiglottis ___ ___ __ _ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ Vocal Folds Typically, the vocal folds are shorter and thicker when speaking or singing lower pitches. All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. With a tilting action, the vocal folds stretch and thin to produce higher pitches. 19
MODULE Shaping Studies Identify what articulators you use to make different consonants and vowels. THE VOICE AS AN INSTRUMENT Vocal tract Larynx Epiglottis Tongue Lips Try changing the shape of your mouth and throat spaces* to see how it affects the sound produced. *Ideas: Lift, lower, pull back, narrow, move forward, open, close... Jaw Cheeks Soft palate Pharynx Notes and Discoveries Vowels and Consonants Notice: Which articulators are you using to create the following sounds (phonetically)? D _________________ L _________________ K _________________ What about E (as in need)? __________________ Ah (as in far)? __________________ All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. Our aim is to control and moderate the airflow and resonance as we move between vowels and consonants when creating words (while remaining mindful of the music style requirements). Some consonant-to-vowel transitions can be trickier to control (often highlighted with microphone technique! eeek), such as 'popping' percussive plosives (T,K,P) or voiceless fricatives (H,S,SHH). Articulation is the interaction between physiological structures to produce sound e.g lips, teeth, tongue etc. 24
MODULE 0,5 1,4x All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. THE VOICE AS AN INSTRUMENT 2,5 25
MODULE THE VOICE AS AN INSTRUMENT Resonance Exercise Start with your head positioned forward of your neck (sticking out and stretched forward). As you sing in this way, you might notice some tightness or pulling on the sound. Start to bring your posture back and align your head back on your shoulders. The space at the top of your neck area should start to feel like it is opening somewhat and the consequent sound feels more ‘resonant’ as you grow into a taller posture. This is an example of opening the spaces we have in our body to allow a flowing and resonant sound (resisting the urge to squeeze or force sound out). Often, the more open and positive we feel, the more resonant and full the sound becomes! Try the same concept. This time, tense up and brace your jaw (intentionally) and then release and really open the space up! Does it feel better? You could also try this with your neck - squeeze inward first, then really open up and release to see what this does to the sound and how you feel! Very often, we find more success in opening space to resonate than when forcing sound out! All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. 30
MODULE THE VOICE AS AN INSTRUMENT Module 1: The Voice as an Instrument Next Module Module 2: Musicality Module 3: Sculpting Sound Module 4: Colours of the Voice Module 5: Vocal Effects Module 6: Genre Spotlight Module 7: Songwriting Module 8: The Show Module 9: The Empowered Singer Module 10: The Artist’s Voice All Rights Reserved. Copyright © 2020 Laura Ratcliffe. Ref No. 10044260520S024. The copying and re-distribution of this document or any of its parts is strictly prohibited. 34
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